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Eliza Carthy

Eliza Carthy (born 23 August 1975) is an English folk musician renowned for her distinctive singing and playing, emerging as a key figure in the revitalization of traditional music since the early . Born into one of England's most influential folk dynasties as the daughter of acclaimed singer-guitarist and singer —who passed away in 2022 after a career with the pioneering family group The Watersons—Carthy began performing publicly at a young age, debuting on record with her parents on the 1994 album Waterson:Carthy. Over her three-decade career, Carthy has blended ancient English ballads with original compositions and contemporary influences, earning widespread acclaim as an innovator who has bridged folk traditions with broader audiences. She has released numerous solo albums, including the Mercury Prize-nominated Red Rice (1998), and marked her 30th year in music with Queen of the Whirl in 2022, while also leading collaborative projects such as The Imagined Village, The Wayward Band, Glad Christmas Comes (2023) with Jon Boden, and Transform Me Then Into a Fish (2025) with Martin Carthy. Carthy's accolades include an for services to music, two nominations, multiple , and being the first English traditional musician nominated for the Award; she was appointed of the in 2021. Her work has been championed by influential figures like and , and she has collaborated with artists across genres, including , , , and .

Early life

Family background

Eliza Carthy was born on 23 August 1975 in , . She is the daughter of prominent English folk musicians , a renowned guitarist and singer known for his influential work with groups like and solo recordings since the 1960s, and , a key vocalist and songwriter in the family folk group The Watersons, which gained acclaim for albums such as Frost and Fire in 1965. Her extended family is deeply embedded in the British folk tradition, including her aunts Lal Waterson and uncle Mike Waterson, siblings of her mother Norma and co-founders of The Watersons alongside their cousin John Harrison. Lal and Mike were instrumental in the group's innovative sound during the 1960s folk revival and later collaborated on the acclaimed 1972 album Bright Phoebus, blending traditional elements with experimental arrangements. This familial legacy provided Carthy with an intimate connection to from infancy, as relatives frequently gathered for performances and rehearsals. Carthy was raised on an old family farm in the countryside, where she was immersed in traditional rural English life amid a close-knit musical . Aunts, uncles, and cousins—many former members of The Watersons—lived nearby or camped on the property, fostering an environment rich in song-sharing and communal music-making that shaped her early exposure to folk traditions. This upbringing in North Yorkshire's rural setting, combined with the constant presence of her parents' professional activities, surrounded her with the sounds and stories of English folk heritage from a young age.

Education and initial musical involvement

Carthy attended Fyling Hall School, a private boarding school in , where she developed her early interests in music alongside her formal education. She later continued her studies at Scarborough Sixth Form College, but left at the age of 17 in 1992 to dedicate herself fully to music. Her initial foray into music began at age 11, when she discovered her grandfather's old in a following his death and began teaching herself to play, with minimal guidance from her father. This self-directed learning was deeply shaped by her family's longstanding immersion in English traditions, where music filled gatherings and reinforced her innate connection to the genre. By age 15, she intensified her practice, dedicating up to five hours daily to the instrument, which marked a turning point in her technical development. At 13, Carthy joined the Plough Stots, an all-male traditional team from her local area, becoming its first female member as the player—a role that provided her earliest public performance opportunities during the team's tours. This involvement immersed her in North Yorkshire's folk customs, honing her skills through live accompaniment and fostering a sense of community in the local tradition.

Career

Early collaborations

Carthy's entry into professional music came through close collaborations with family and fellow musicians in the early . In 1993, at the age of 18, she formed a fiddle and vocal duo with her friend and collaborator Nancy Kerr, releasing their self-titled album Eliza Carthy & Nancy Kerr on Mrs Casey Records, which showcased their interpretations of traditional English and tunes. The partnership highlighted Carthy's emerging skills, honed from her youth, and emphasized acoustic arrangements rooted in the British tradition. The following year, Carthy joined her parents, Norma Waterson and Martin Carthy, to form the family ensemble Waterson:Carthy, debuting with their self-titled album on Topic Records in 1994. This project bridged generational styles, blending the Watersons' a cappella harmonies with Martin's guitar work and Eliza's fiddle contributions on tracks like "The Light Dragoon" and "Ye Mariners All," marking a significant family band milestone that introduced her broader vocal and instrumental range to audiences. The album's release solidified the group's role in revitalizing traditional folk within contemporary contexts. During the mid-1990s, Carthy participated in the occasional folk supergroup Blue Murder, which united members of Waterson:Carthy, Swan Arcade, and Coope, Boyes & Simpson for performances blending unaccompanied harmonies with experimental elements. Active sporadically through the decade, the ensemble's live sets at festivals like Cambridge Folk Festival explored innovative vocal arrangements of folk material, allowing Carthy to experiment beyond strict traditionalism. These group endeavors led to Carthy's early live performances and tours with family ensembles across the circuit, including appearances at venues like the Queen Elizabeth Hall and regional festivals in the mid-1990s. Such outings, often featuring Waterson:Carthy or family lineups, helped establish her presence among traditionalists and emerging revivalists, fostering a reputation for dynamic stage energy and fidelity to roots.

Solo career

Eliza Carthy launched her solo career with the debut Heat Light & Sound in 1996, released on Topic Records, where she prominently featured her playing and vocals alongside traditional English arrangements. The album marked her emergence as a distinctive in British folk music, blending acoustic instrumentation with personal interpretations of folk traditions. Her breakthrough came with the double album in 1998, also on Topic Records, which fused folk roots with rock and experimental elements, earning a nomination for the and broadening her appeal to mainstream audiences. This release showcased Carthy's innovative approach, incorporating electric guitars and diverse rhythms while preserving the narrative depth of traditional songs. In 2002, Anglicana further solidified her solo stature, drawing from English heritage with a contemporary edge, and leading to a sweep at the 2003 , where she won Singer of the Year, Best Album, and Best Traditional Track. The album highlighted her vocal prowess and work on tracks rooted in historical ballads, emphasizing cultural . Subsequent solo albums continued her artistic evolution, including Rough Music in 2005, which explored politically charged themes through folk structures. Around this time, Carthy co-founded the collaborative project , blending British folk with international influences and ; the group released three albums between 2005 and 2010, helping to expand folk's boundaries and audiences. Later works included Dreams of Breathing Underwater in 2008, incorporating electronic and ambient influences to push boundaries in folk expression. These works reflected her shift toward more experimental folk, integrating modern production techniques with acoustic foundations. Carthy's solo output continued with the 2018 album Big Machine leading The Wayward Band, a featuring diverse musicians that fused with , , and other genres, underscoring her innovative spirit. She marked her 30th year in music with new versions of earlier tracks such as "Stumbling On" and "" on the album Queen of the Whirl (preceded by a series of EPs) with The Restitution in 2022, reimagining material for contemporary listeners, with ongoing anniversary activities extending into 2025. This was followed by the 2024 EP No Wasted Joy, an eight-track release on Hem Hem Records featuring stark, unaccompanied vocals and on traditional material, underscoring her commitment to raw, introspective interpretations. This EP, accompanying her solo tours, exemplified her ongoing experimentation within the genre. Family collaborations provided foundational support throughout her independent endeavors.

Recent activities

In 2025, Eliza Carthy contributed to ongoing discussions in the community through a January article in Songlines magazine, where she examined the evolving definition of using the official folk chart as a contemporary barometer. During autumn 2025, Carthy participated in the sold-out "Life & Songs of " concert at Theatre in on September 27, honoring her father 's extensive career with performances alongside a lineup of prominent folk artists. Carthy maintained a busy touring schedule throughout 2025, including solo performances starting with Welsh dates in February, supported by Jennifer Reid, and appearances with The Restitution at events such as the Gate to Southwell Folk Festival in July and the Folk & Food Festival in late July. In November and December, she joined for a duo tour across the UK, reviving traditional seasonal songs and customs in intimate venues. These activities built on the 2024 re-release of her collaborative album Through That Sound (My Secret Was Made Known) with Ben Seal, which prompted additional winter performances with The Restitution extending into early 2025 dates.

Musical style

Instruments and techniques

Eliza Carthy's primary instrument is the , also known as the , which she plays in both traditional and innovative styles. She began learning the at age 11 but struggled with formal classical training, achieving only Grade 2 before abandoning structured lessons. Largely self-taught thereafter, Carthy resumed serious practice at 15 with encouragement from her mother, , dedicating up to five hours daily and drawing on influences like Northumbrian and styles from mentor Nancy Kerr to develop an expressive, non-classical technique. Her work encompasses rapid traditional , such as those used in northern dancing, as well as improvisational elements incorporating Balkan gypsy and jazz-inspired phrasing for dynamic solos. Carthy's vocal style is characterized by a powerful and versatile range that blends clear, traditional delivery with emotive nuances, including whispered intimacy and defiant intensity. Her voice has evolved into a rich, nuanced capable of shifting from tenderness in ballads to forceful projection in group harmonies, often emphasizing call-and-response patterns. This approach allows her to navigate centuries-old songs with authenticity while infusing personal emotional depth, making her a central pillar of her performances alongside the . In addition to and voice, Carthy occasionally incorporates other instruments in live settings, such as guitar for rhythmic accompaniment and percussion like the to add layered textures. Her performance approach is energetic and immersive, featuring dance-infused movements that echo traditions from her youth, including rhythms played for teams like . To enhance solo shows, she employs looping pedals and effects—such as dub filters or sampled sounds—to build intricate, multi-layered arrangements from single instruments, creating a sense of organic expansion without additional musicians.

Influences and innovations

Eliza Carthy's musical influences are deeply rooted in English folk traditions, particularly through her family heritage with The Watersons, where her mother and extended relatives emphasized unaccompanied traditional singing that profoundly shaped her vocal style and repertoire. This foundation was expanded by exposure to American folk-rock, as seen in her violin contributions to and Wilco's (2000), which interpreted Woody Guthrie's lyrics with rock instrumentation, introducing her to transatlantic fusions of folk narrative and electric energy. Additionally, global sounds from projects like , featuring her father , incorporated multicultural elements such as Asian and Caribbean rhythms alongside to reinterpret British folk songs, reflecting a broader, inclusive worldview. Carthy's innovations lie in her bold fusion of traditional ballads with contemporary elements, including electronic beats and instrumentation, as exemplified in like Anglicana (2002), which blended drum'n'bass rhythms with English folk melodies and earned a nomination for pushing acoustic purity into experimental territory. Her work often weaves social commentary on themes like and rural life, evident in tracks from The Company of Men (2016), where explicit address dynamics and heartbreak, challenging the sanitized image of . In revitalizing the folk scene, Carthy has pioneered greater gender diversity in historically male-dominated areas like fiddle playing and morris dancing, emerging as one of the few prominent female fiddlers in the and advocating for inclusivity through her punk-infused style and leadership roles. Her experimental albums, such as those with The Wayward Band, extend beyond traditional acoustics by incorporating full rock bands, broadening folk's appeal to younger audiences. Carthy's contributions to the folk revival include her advocacy for the genre's ongoing relevance, as articulated in her 2025 writings analyzing the folk chart to argue for an expansive definition encompassing folk-rock, folk-pop, and ambient traditions, ensuring folk evolves with modern tastes rather than remaining static. As president of the English Folk Dance and Song Society since , she promotes this evolution, fostering diversity and new talent to sustain folk's cultural vitality.

Awards and recognition

Folk awards

Eliza Carthy has received numerous accolades from the , recognizing her contributions to traditional and . In 2003, she achieved a remarkable sweep, winning Folk Singer of the Year, Best Album for Anglicana, and Best Traditional Track for "Worcester City." Carthy's family collaborations have also been honored in the awards, highlighting her role in intergenerational folk projects. In 2000, the group Waterson:Carthy, featuring Carthy alongside her mother and father , won Best Group. Further successes came in 2011 with her mother, as they secured for and Best Traditional Track for "Poor Wayfaring Stranger." In 2020, she won Soloist of the Year at the Folking Awards. Beyond the BBC awards, Carthy earned the Paul Hamlyn Foundation Award for Composers in 2012, a mid-career recognition for her innovative approaches to folk composition and performance. These honors underscore her enduring impact within the folk music community.

Other honors

Carthy received two nominations for the Mercury Prize, the prestigious award for the best album from the United Kingdom and Ireland. Her debut solo album Red Rice was nominated in 1998, marking her early recognition in broader music circles. In 2003, her album Anglicana earned another nomination, highlighting her innovative fusion of folk traditions with contemporary elements. In 2003, Carthy became the first traditional English nominated for a Award for in the Critics' category, for Anglicana. This accolade underscored her global appeal beyond folk genres. Additionally, she has accumulated eight wins at the over her career, reflecting sustained excellence in her field. In 2021, she was appointed President of the English Folk Dance and Song Society. For her contributions to music, Carthy was appointed Member of the () in the 2014 Queen's Birthday Honours.

Personal life

Family and relationships

Eliza Carthy has been in a long-term relationship with Canadian violinist Aidan Curran since the mid-2000s. The couple shares two daughters: the elder, , and the younger, Isabella (also referred to as Isobel). Carthy gave birth to Florence in late 2008 and to Isabella in late 2010. Balancing her extensive touring commitments with parenting has been a key aspect of Carthy's family life. In 2011, for instance, she brought her then-infant daughter Isabella along on a UK tour while Florence remained at home with Curran, illustrating the practical adjustments required to maintain both her career and family responsibilities. Carthy has emphasized the importance of family support in navigating these demands, occasionally incorporating relatives into performances but generally prioritizing privacy to shield her children from public scrutiny. Carthy comes from the renowned Waterson:Carthy folk dynasty and maintains close ties with extended family members, including cousins Oliver Knight and Marry Waterson, who are musicians and have joined her in family-oriented projects.

Health challenges

In 2008, while pregnant with her daughter , Eliza Carthy was diagnosed with a large on her that caused severe pain, making both and speaking excruciating and leading to inconsistent vocal performance. Due to the , surgeons delayed the necessary procedure to remove the until shortly after Florence's birth on December 24, 2008. The condition forced Carthy to cancel her planned November 2008 tour, resulting in a temporary career pause that coincided with the release and promotion of her album Dreams of Breathing Underwater earlier that September. This vocal strain disrupted her ability to perform live, a core element of her folk music career, and required months of rest and uncertainty about her future as a singer. Following the surgery, Carthy underwent a period of recovery that included daily vocal exercises to rebuild her strength, ultimately resulting in a richer, expanded vocal range that she described as feeling like a "new instrument." She returned to performing soon after, joining her mother Norma Waterson for the collaborative album Gift in 2010 and resuming tours, demonstrating resilience in the face of the setback. In interviews, Carthy has shared her experiences to highlight the physical demands on musicians' voices, emphasizing proactive care like rest and therapy to prevent long-term damage in the folk community. Carthy has not publicly disclosed any other major health challenges affecting her career since the 2008 incident.

Discography

Solo albums

Eliza Carthy's debut solo album, Heat Light & Sound, released in 1996 by Topic Records, showcases her early mastery of traditional , particularly through a collection of fiddle tunes and songs that highlight her instrumental prowess and commitment to the genre's roots. Her follow-up, Red Rice, a double album issued in 1998 by Topic Records, marked a bold shift toward experimental folk-rock fusion, blending acoustic traditions with electronic elements, drum loops, and pop influences to create a groundbreaking sound that earned a Mercury Prize nomination. Angels & Cigarettes, released in 2000 by Warner Bros. Records, expanded her sound with lush pop arrangements and original songs, bridging folk roots with contemporary production. In 2002, Carthy released Anglicana on Topic Records, an album drawing on Anglo-American folk influences through reinterpreted traditional songs and original compositions, which won the Best Album award at the 2003 BBC Radio 2 Folk Awards and solidified her reputation for innovative arrangements. Rough Music, released in 2005 by Topic Records, delves into social protest themes via stark interpretations of historical ballads addressing issues like punishment, sexuality, and injustice, reflecting Carthy's activist spirit within the folk tradition. Neptune, self-released in 2011 via Hem Hem , features original compositions exploring modern British life with eclectic instrumentation and her signature work. The 2008 album Dreams of Breathing Underwater, also on Topic , features atmospheric soundscapes and introspective songwriting, emerging after a period of personal recovery and exploring emotional depth through a mix of covers and originals. Wayward Daughter, a compilation of early recordings released in 2013 by Topic Records, highlights her formative work from the . Restitute, released in 2019 by Topic Records and Under the Bed Records, reimagines tracks from Anglicana with updated arrangements and guests. Carthy's most recent solo effort, No Wasted Joy, self-released in 2024 via Hem Hem Records, offers mature reflections on her career and life through raw, unaccompanied performances of traditional songs, emphasizing vocal intimacy and personal storytelling.

Collaborative albums

Eliza Carthy's collaborative work spans family-based ensembles and innovative supergroups, blending traditional English with diverse influences through joint recordings that highlight her vocal and instrumental contributions alongside esteemed partners. These projects often emphasize harmony singing, , and guitar arrangements rooted in folk traditions, showcasing her role in preserving and evolving the genre within communal settings. The family group Waterson:Carthy, formed in the mid-1990s, marked a significant intergenerational , uniting Carthy with her parents, on guitar and vocals, and [Norma Waterson](/page/Norma Waterson) on vocals. Their debut album, Waterson:Carthy, released in 1994 by Topic Records, featured a mix of traditional songs like "Bold Doherty" and "Ye Mariners All," with Carthy providing , viola, and vocals across the 12 tracks recorded primarily as a . This was followed by Common Tongue in 1997 on Topic Records, featuring tracks like "When I Came in from the Moor." The ensemble continued with Broken Ground in 1999 on Topic Records, which expanded to a by incorporating melodeon player Saul Rose alongside the core family members; this album explored themes of seafaring and rural life through songs such as "Raggle Taggle Gypsies" and instrumentals like "Sheffield Waltz." Later releases included A Dark Light in 2002 on Topic Records, with songs like "Just as the Tide Was A-Flowing." Earlier partnerships included contributions to the informal supergroup Blue Murder, which emerged in the from festival performances involving Waterson:Carthy members alongside vocalists from Coope, Boyes and Simpson and soloist Mike Waterson. Though no full album materialized in the decade, the collective's harmony-driven sets laid groundwork for their 2002 release No One Stands Alone on Topic Records, where Carthy sang lead and backing on tracks like "Gown of Green" and "Blue Mountain," embodying the group's "harmony heaven" ethos. In 2007, Carthy joined , a multicultural supergroup conceived by Simon Emmerson to reimagine English folk, releasing their self-titled debut on . Contributors included on guitar and vocals for "John Barleycorn" (with Martin and Eliza Carthy), Benjamin Zephaniah reciting on "Tam Lyn Retold," and others like and ; Carthy's fiddle and vocals infused tracks with vibrant energy, bridging traditional ballads and contemporary sounds. With The Wayward Band, Carthy released Big Machine in 2017 on Topic Records, a collaborative album blending folk, electronic, and world music elements across 12 tracks. A more intimate family project, Gift (2010, Topic Records), paired Carthy with her mother Norma Waterson in a duo format supported by the Gift Band, compiling traditional and contemporary songs such as "Poor Wayfaring Stranger" and "The False True Lovers." This release, produced by Carthy, captured their vocal interplay on 11 tracks, drawing from shared influences while marking a poignant mother-daughter collaboration. In 2018, Anchor (Topic Records) was released by Norma Waterson and Eliza Carthy with the Gift Band—including Aidan O'Rourke on fiddle, Neil Martin on cello, and Damien O'Kane on guitar—due to Norma's health; recorded in a historic chapel, it included reflective tracks like "Strange Weather" and "The Elfin Knight," honoring family influences and collaborators. In 2022, Carthy released the Queen of the Whirl EP series with The Restitution via Need to Know Records, marking her 30th year in music with reinterpreted songs including material from Red Rice. These endeavors not only amplified Carthy's profile but also influenced her solo style by integrating layered harmonies and experimental elements from .

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